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<h2 class='date-header'><span>Friday, September 22, 2006</span></h2>

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<p class=MsoNormal align=right style='margin-bottom:12.0pt;text-align:right'><span style='color:black'><img height="200" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh6.googleusercontent.com/proxy/q6yCn_p76FxUEjV9I8wH9y_HhRBxm4AqyLAMa5Cb0mJXw8S2aY3Jw-oDWRjNSTAOHr87iL3CmNUn-okQKmTp8mbk-5sn4BjucTzSwF9WZw0%3Ds0-d" width="185"><o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>I&#8217;ve been reading <a href="http://angelicpoker.blogspot.com/"><span style='color:black'>Eileen Tabios</span></a> since I came across her blog and her <a href="http://meritagepress.com/"><span class=SpellE><span style='color:black'>Meritage</span></span><span style='color:black'> Press</span></a> website almost four years ago &#8211; she&#8217;s just one of many poets whose work I might not have gotten to know, or would have only much later, had it not been for this new public space that weblogs collectively have created. And while I met her at a reading I gave at 21 Grand in Oakland a few years back, I&#8217;d never had the opportunity to hear her read before we appeared together at the Bubble House in Philadelphia last Tuesday. She&#8217;s a terrific reader: her poetry is strong and she brings to a reading the same questing, restless, driven imagination that one finds in her writing <i  style='mso-bidi-font-style:normal'>and </i>the same ready wit. For the event, Tabios read entirely from &#8220;Gabriela Couple(t)s with the 21<sup>st</sup> Century,&#185;&#8221; one of two sequences that make up the bulk of <i style='mso-bidi-font-style:normal'><a href="http://www.spdbooks.org/Details.asp?BookID=9519198903"><span style='color:black'>Ménage <span class=SpellE>à</span> <span class=SpellE>Trois</span> with the 21<sup>st</sup> Century</span></a>, </i>a hard copy volume published by Jukka-Pekka <span class=SpellE>Kervinen&#8217;s</span> <a href="http://www.xpressed.org/"><span class=SpellE><span style='color:black'>xPress</span></span><span style='color:black'>(ed)</span></a> Press of <span class=SpellE>Espoo</span>, Finland. I mention that it&#8217;s hard copy since <span class=SpellE>xPress</span>(ed) is better known for published post-avant ebooks, but has done at least some, as well, in actual print &amp; paper, and the Gabriela sequence <i style='mso-bidi-font-style:normal'>only </i>in hard copy (it&#8217;s joined in the book with &#8220;<a href="http://www.xpressed.org/enheduan.pdf"><span class=SpellE><span style='color:black'>Enheduanna</span></span><span style='color:black'> in the 21<sup>st</sup> Century</span></a>,&#8221; which is also available solo as an <span class=SpellE>xPress</span>(ed) <span class=SpellE>ebook</span>.)<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'><a href="http://en.wikipedia.org/wiki/Gabriela_Silang"><span style='color:black'>Gabriela <span class=SpellE>Silang</span></span></a>, the widow of Diego <span class=SpellE>Silang</span>, continued her husband&#8217;s fight against Spanish rule of the </span><st1:country-region><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>Philippines</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'> in 1763, becoming the first female revolutionary leader there as part of the <span class=SpellE>Ilokano</span> revolt, for which she was soon captured and hung. &#8220;Gabriela&#8221; is a series of 33 poems &#8211; one for every year of <span class=SpellE>Silang&#8217;s</span> life &#8211; which engages this figure of Filipina nationalism, but hardly in the simple honorifics that characterize political poetry about heroes. Here is &#8220;Domestic,&#8221; which carries a subtitle, <i style='mso-bidi-font-style:normal'>At Which Gabriela Would Have Been Better If A Revolution Had Not Interfered:</i><o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>I am a stranger<br>
to lace-edged aprons &#8211;<br>
<br>
My melons<br>
are rarely ripe &#8211;<br>
<br>
My dining room boasts<br>
a long mahogany table<br>
<br>
whose silk flowers<br>
offer the fragrance of dust &#8211;<br>
<br>
That I have money<br>
for perfect hems<br>
<br>
consoles<br>
like martyrdom &#8211;<br>
<br>
Within this universe<br>
I do not dominate<br>
<br>
my sisters are<br>
in demand<br>
<br>
for &#8220;domestic skills&#8221;:<br>
they are priceless<br>
<br>
unlike I<br>
who responds with words<br>
<br>
when asked for<br>
&#8221;objects&#8221; &#8211;<br>
<br>
F.G. cautions me<br>
against &#8220;enhancing the music&#8221;<br>
<br>
as more would implode<br>
my poems, trip<br>
<br>
the &#8220;fragile balance&#8221;<br>
between &#8220;sterility&#8221;<br>
<br>
and &#8220;sensuality&#8221; &#8211;<br>
In response, I grin<br>
<br>
for I long &#8211; &#8220;I&#8221; long! &#8211;<br>
for any manner of<br>
<br>
a stable grid &#8211;<br>
Let me tell you<br>
<br>
of my nightgown:<br>
a flannel background<br>
<br>
of lapis lazuli<br>
contextualizes<br>
<br>
reproductions of<br>
yellow <span class=SpellE><i style='mso-bidi-font-style:normal'>bancas</i></span><br>
<br>
green anchors<br>
red piranhas<br>
<br>
white fishing poles<br>
orange oranges &#8211;<br>
<br>
Perhaps I hold the potential<br>
for a poem keening<br>
<br>
for the sun<br>
to irradiate the sky<br>
<br>
until we all inhabit<br>
the same room<br>
<br>
in Walt Whitman&#8217;s<br>
expansive ocean &#8211;<br>
<br>
Mind you, I <br>
once dived deeply<br>
<br>
into a salty sea<br>
to watch corals<br>
<br>
crumble at my touch &#8211;<br>
When schools of fish<br>
<br>
dispersed, their bodies<br>
pressed a rainbow<br>
<br>
against the undulating<br>
sea floor<br>
<br>
suddenly flesh<br>
suddenly scarred <br>
<br>
suddenly scarred flesh<br>
suddenly aglow<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial;color:black'><a href="http://www.mindanao.com/photoblog/?m=200603"><span class=SpellE><span style='color:black'>Bancas</span></span></a> </span></i><span style='font-size:10.0pt;font-family:Arial;color:black'>in this context aren&#8217;t benches, but the slender pontoon-balanced boats common to the </span><st1:country-region><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>Philippines</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'>. In the reading at The Bubble House, Tabios used the name Forrest Gander rather than the initials &#8220;F.G.&#8221; although she didn&#8217;t mention <span class=SpellE>Silang&#8217;s</span> complicated &#8220;domestic&#8221; history, having been adopted by a wealthy businessman who later married her &amp;, three years after that, abandoned her, thus having been both daughter &amp; wife to a man who obviously recognized the aspect of property in both of those relationships. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>This poem, more than anything else, is about brilliance, whether the décor of clothing, the ripeness of melons, the sensuality of language or ultimately the inner glow of ocean fish. In fact, the poem turns on the description of a flannel nightgown with its ersatz image of island life. Up close real-time, fish scatter &amp; coral crumbles, a dynamic the poem itself replicates, moving between the plainest of <span class=SpellE>rhetorics</span> and a sentence that hinges on the verb <i style='mso-bidi-font-style:normal'>keening. </i>Or between the flattest social romanticism of what might be read as the politically correct and the complete opacity of identifying a poet just by his initials (<i style='mso-bidi-font-style:normal'>and knowing that a certain percentage of readers will recognize the reference from the initials alone</i></span><span style='font-size:10.0pt;font-family:Arial'>). Like the best work, say, of Judy Grahn or Simon Ortiz, Tabios&#8217; poem uses a lot of its energy seeming artless, which F.G. would be right to note is an especially hard thing to accomplish. At the same time, this poem divulges its own secrets, discusses its own devices, that same kind of referential/<span class=SpellE>metacomment</span> border blur we might think of as uniquely the New York School&#8217;s contribution to literary form, tho Whitman contradicted himself much earlier still. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial'>Tabios did not read either all of &#8220;Gabriela,&#8221; nor did she read the poems in the sequence they appear in the book. With just 20 minutes allotted per reader, it made me realize yet again that the best readings are those that last at least an hour, tho the ambient noise of the bar upstairs might make that particularly challenging in a place like the Bubble House. As I head back to </span><st1:place><st1:PlaceName><span style='font-size:10.0pt;font-family:Arial'>Chester</span></st1:PlaceName><span style='font-size:10.0pt;font-family:Arial'> </span><st1:PlaceType><span style='font-size:10.0pt;font-family:Arial'>County</span></st1:PlaceType></st1:place><span style='font-size:10.0pt;font-family:Arial'> afterwards, what I wanted most was to hear more. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span class=GramE><span style='font-size:8.0pt;font-family:Arial;color:black'>&#185; That is the sequence&#8217;s title as given in the book itself.</span></span><span style='font-size:8.0pt;font-family:Arial;color:black'> The table of contents calls it &#8220;Gabriela <span class=SpellE>Silang</span> <span class=GramE>Couple(</span>t)s with the 21<sup>st</sup> Century.&#8221; One <span class=GramE>senses</span>, throughout Tabios&#8217; work, that such things are held lightly, that they might be called something else tomorrow, might even take on a different shape, become a novel or a performance piece. <o:p></o:p></span></p>
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_WidgetManager._RegisterWidget('_TextView', new _WidgetInfo('Text4', 'sidebar', document.getElementById('Text4'), {}, 'displayModeFull'));
_WidgetManager._RegisterWidget('_TextListView', new _WidgetInfo('TextList1', 'sidebar', document.getElementById('TextList1'), {}, 'displayModeFull'));
_WidgetManager._RegisterWidget('_LinkListView', new _WidgetInfo('LinkList1', 'sidebar', document.getElementById('LinkList1'), {}, 'displayModeFull'));
_WidgetManager._RegisterWidget('_TextView', new _WidgetInfo('Text1', 'sidebar', document.getElementById('Text1'), {}, 'displayModeFull'));
_WidgetManager._RegisterWidget('_TextView', new _WidgetInfo('Text3', 'sidebar', document.getElementById('Text3'), {}, 'displayModeFull'));
_WidgetManager._RegisterWidget('_ImageView', new _WidgetInfo('Image1', 'sidebar', document.getElementById('Image1'), {'resize': false}, 'displayModeFull'));
_WidgetManager._RegisterWidget('_TextView', new _WidgetInfo('Text2', 'sidebar', document.getElementById('Text2'), {}, 'displayModeFull'));
</script>
</body>
</html>